Where I'm Coming From:
Art is not a thing, but a way. We each have our own way and my way is informed by my biography. This biography, in turn, is informed by a set of histories. These histories are the narrative of everything that came before me, and as such, have manifested in my identity as a border-dwelling, queer, Chicano man.
As a consequence of conquest and dominion, these histories are often incomplete or fragmented. The words and images that make up my personal narrative have been affected by a process of historical revision, omission, and embellishment; a process that results in both concealment and revelation.
I work with words and images, important elements of narrative-making, and push them through a similar process of revision, omission, and embellishment. This process reveals the fallible nature of words and images, elements that are often revered as sacrosanct when received as part of change-resistant narratives; narratives that drive our identity formation, and by proxy, our understanding of this world. My primary materials of choice are paper and pixels; each allude to archives in physical and virtual forms.
The result are glyph-like objects. Unlike glyphs, these little spectacles don’t seek to be deciphered. Instead, they are made to redirect; to obscure the origin of its parts; to create an access point for the emergence of new meaning.
Bernardo Diaz is an artist, educator, and administrator who resides in Austin TX. Diaz received his MFA from the Meadows School of the Arts at Southern Methodist University. A first generation Mexican-American, Diaz was born in Rochelle, Illinois and spent his formative years in Eagle Pass, a southwest Texas town on the border with Mexico. Diaz’s work explores notions of identity and currently works around three formal conceptual frameworks: embellishment, omission, and revision. Diaz is not committed to a specific medium and his work manifests in the form of paintings, drawings, collages, text, socially-engaged projects, and grassroots organizing. Diaz has also worked alongside various art organizations including the Public Art Selection Committee for the City of Dallas, Art Love Magic, Big Thought, and is a critic for Peripheral Vision Arts, an online art journal focused on emerging artists. In 2013, Diaz was included in the Dallas Pavillion, a toungue-in-cheek exhibition in print that debuted at the 55th Annual Venice Bienneal. In 2014, an essay and selection of Diaz's work was published in Aztlan: A Journal of Chicano Studies at UCLA's Chicano Studies Research Center. He currently serves as assistant professor of art and assistant department chair at Austin Community College. Diaz loves his two pet dogs, who he promised to mention in his bio; their names are Trixie and Loki.